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Alizade.,N. ,PH.D.
Aydenloo.,S.
Abstract
 
The commonalities and continuation of some mythological archetypes and concepts in an individual, racial and human being collective unconsciousness is the principal criterion for the use of mythological criticism in recalling and analyzing various manifestations of myth and rituals in literary genres. According to mythological criticism, some important points are revealed in Attar’s Tazkart-al awliya. For instance if we take structuralism approach to the story of Ebrahim Adham and his son and compare the elements of this story with famous narratives on “father-son” battle, we can conclude that this story is designed based on the narrative of “Rostam and Sohrab”.
 
 

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Time is an abstract concept standing beside others such as the location and human. Time, in human experience, has two aspects of outer time and inner time. The outer time is indeed that real time which the human being is unable to change its circumstances, while the inner time is the creation of the man’s mind. The present research deals with the examination of the concept of time in the poems of Mahmoud  Darwish and Gheisar Aminpour so as to specify the utilization of the time element by these two poets. This article, at first, has set to define the time lexically and the main opinions stated about time .Then, presenting a definition of outer time and inner time, it studies the thoughts of these two poets on the element of time. This research shows that Mahmoud Darwish and Gheisar Aminpour, for achieving eternity and escape from death, have had recourse to modes like return to past, myth and love, indicating the common view of these two poets on the element of time.    

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Regarding the characteristics of myth in various mythological approaches, it is evident that myth functions in the culture, society, mind, or psyche of human beings, has a collective aspect, is connected to an unconscious or preconscious state, and finally has a normative dimension. These characteristics make social ontology an appropriate place for the analysis of myths. Following the ideas of some social ontologists such as Searl or Tuomela, myth can be considered an institutional fact. However, according to the dominant approach in social ontology in the contemporary analytic tradition, all institutional facts are implicated by individual or collective intentionality. We argue that the peculiarity of myth’s connection with the unconscious state challenges all subcategories of the dominant approach in contemporary social ontology; hence, a shortcoming of the dominant approaches in analyzing myth as an intuitional fact.
 

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Translation is one of the factors of the exchange of various dimensions of civilization, art, culture and literature and the cultural development of societies. It is always seen in terms of the differences in the components of the linguistic translation of texts, in particular literary texts, such as increasing, decreasing, changing the theme and structure. Hence, The critique of translation is one of the essential and important steps in improving the translation of texts and their evaluation. In this speech, the "Myth of the Moon Barry," the Arabic translation of the critique and evaluation of the story of "Samak Ayyar" by descriptive and analytical method has been criticized and evaluated using descriptive and analytical method and based on the theory of Nida. According to Nida's definition of the translation that finds the closest natural equivalent of the source language in the target language, and the division of the translations into a formal and dynamic translation, the "Myth of the Moon Barry" mythology can’t be regarded as a formal translation. The occurrence of mistakes in the equivalence of words, the removal and enhancement of the text, the change of words and the style and the structure of the original text show the translator has not been faithful to the source text in the translation of Samak-e-Ayar's story and has not done so accurately. Therefore, with tolerance, it should be classified as dynamic translations.

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A field study in regions which have stayed intact demonstrates that mythical beliefs are still alive after centuries and continue to live with some changes. Such beliefs are interwoven in the people’s everyday lives and effect all their dimensions to a degree that one hardly can discern them from each other. The authors’ field studies demonstrate that in Kohmarreh-Sorkhi region shows that a part of the people’s mythical beliefs in this old area have stayed unchanged. This region is one of the richest resources of myths and ancient beliefs in the Iranian plateau with string connections with myths and old beliefs of the Iranian and Mesopotamian peoples. In this article we have tried to examine a part of these beliefs in terms of the myth of fertilization and the fests of water in three sections: the historical background of Kohmarreh-Sorkhi region; the myth of fertilization; 3) the fests of water. Its worthy to mention that we have also tried to figure out the probable similarities among these myths and myths of Iran or other cultures.

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The nomadic clans of Sangesari are one of the most ancient Iranian peoples whose subsistence is predominantly based on wandering based pastoralism and some of them are still faithfully living in this manner. The goal of this essay is to assess the cultural perpetuation via historical and radical pursuit of the mythical and symbolic features that Sangesari women have traditionally created on many kinds of manual arts especially on woven and ornaments. The cultural entity of any people is substantially historic in which the main discussion is performed around the concept of continuity. Thus, without a paleontology of cultural elements, we cannot make a complete and comprehensive knowledge about culture, since the cultural cognition of any people or group depends on radical and historical investigations. The research method in this study is based on documents and texts and direct observations to Sangesari manual arts.

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Talebian.Y.,PH.D
Hosseini. N
 Abstract:
 
In the several last decades, structural approaches of the study of narrative had a great affect on narration and folklore. The first research in the field is a prop's, the morphology of the folktale" generalized and completed by some rhetoricians including Todorove, which analyzes the narratives into bits and studies the relations of them in categories of theme and space order.
This study, based upon the Todorve's view, deals with the typology of narrative in Sandbadname, an Iranian narrative, so that places it in the row of mythological narratives as Hezaroyekshab (one thousand and one night), an Iranian legend and Decomeron a European one, mentioning some traits of it and comparing them with the specifies of mythological narratives.
 
 

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 Tawousi.M.,PH.D
Samini. N.,PH.D.
Mohandespoor.F.
Abstract:
 
This paper briefly approaches the views, looked into the origins of A Thousand and One Night, based on narrative, historical, ecological and regional proofs and specifically focusing on the protagonist, Scheherazade, through her motifs and mythological origins.
The archetypes, on which Scheherazade is created, have been studied as the motifs forming her thoughtful and practical character. Through such an exploration, we have found out that Scheherazade manifests two Iranian archetypical motifs: "Existence for Combat" and "Resurrection Oriented Conclusion".
 
 

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  From the ancient time, the land of Iran, because of its geopolitical location, played an important role in terms of cultural interaction between the East and the West. Infact, one of the most attractive parts of the world history is cultural communication and also political conflicts between Iran, Greece and Roman Empires, as representatives of the East and the West. According to historical and archaeological evidences, it can be claimed that, among the craftsmen of both nations, there was a clear understanding on mythical and religious characters of other side. So, on the basis of iconographical studies, this paper aims to focus on two mythical characters,Tishtar and Pegasus, as a sign of cultural interaction, appeared on two Sassanid silverworks. This study, finally takes a result that how Iranian artisan in Sassanidera had imitated the form of Pegasus appearance on the Western art and used it as a prototype to show Tishtar on his works.     

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The Calling myths have prominent role to deepen and enrich the literature of different nations including Arabs Iranian myth, "Zoroaster", one of the myths That there is not often in classical Arabic poetry. But some contemporary Arab poets inspired by Friedrich Nietzsche (1844 - 1900), German poet and philosopher, In the framework of "Qna" and the mask of the Zoroastrian myth, Seeking element for social and political struggles In the wake of people with superhuman slogan Thereby uprising Against the evil tyranny and corruption of contemporary oppressors .the Purpose of this article is a comparative study of the Zoroastrian myth In ancient and contemporary Arab poetry To show what is the symbolic thought of this Arabic poets About this archetype? And basically for what purpose, each of these poets has been used of this Myth in their poem? Achievement of this study that is written Based on the Descriptive analysis method shows that in the old Arab literature, it is very hard to find a Poet that mentioned the myth of "Zarathustra" in his poem. And only observed a few references to the Magi and the religion of Pre-Islamic Persian in The poetry of this period. In contrast, in contemporary Arabic literature, Zoroaster has come in the formation of a national savior in to the form of a political ambassador that emancipated the Contemporary human of the Political Pains and suffering.

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M. Sarrafi.PH.D.
 
Abstract:
The present essay is written through a referential method for the analysis of bird symbols in Rumi’s work; Massnavi. Once the author derived all the functions of birds, he categorized, described, and also explained the symbolic concepts of each through context analysis as the major technique. On the basis of these findings, there are about 30 birds mentioned by their names, while about 100 birds are mentioned without referring to their actual names. These create merely a part of Rumi’s creativity in symbolism. One of the most significant findings of this paper is; regarding the final analysis of birds; they are actually a symbol and sign of fate of the human soul within the prison of body and the materialistic world.
The meanings and symbolic concepts of birds hold an inseparable connection with their natural characteristics. Furthermore, the religious, cultural, and mythological teachings, which have been created about each of them throughout time, all enjoy a stunning role in the particular concepts given to them by Rumi. In overall it can be said that some of Rumi’s interpretations and understandings on the birds are quite new and innovative; while some of the others are rooted within the cultural traditions. The construction of symbolic concepts regarding birds in Massnavi derives from Rumi’s unique and special approach on one hand, while it is the result of his personal findings and understandings added to his potentiality and talent on the other hand.
 
 

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Ebrahim Ranjbar. PH.D
Abstract:
Shah-Nameh, a work enjoying wisdom and epic, belongs to an era which observed the richest cross-cultural events of the Eastern and Western cultures. In this work, wisdom, mythology, epic and history are so deeply intermingled within each other that an admirable masterpiece is created. Ferdowsi’s wisdom and insight can be realized through the stories in Shah-Nameh; added to the clear and frank advices conveyed at the end of stories. Some of these stories are related to Afrasiab’s wars. In Shah-Nameh Afrasiab virtually represents two potentially inherited evil forces in the nature of mankind; anger and lust.
Afrasiab has a bad and evil image in mythological and historical works. Whether for this reason, or whether because Ferdowsi has exaggerated his evilness and badness in portraying his character, in Shah-Nameh he is the most evil character who starts out the greatest war against Iran. This research intends to show how he is the representative of anger and lust. For this purpose Afrasiab’s image, in historical and mythological texts and also in Shah-Nameh, are compared and his words and manners and behaviors, which is associated with evilness and corruption in relation to his hostility against Iran, is surveyed in Shah-Nameh.
 

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The association between myth & mystical themes in literary and narrative contexts in the extensive field of literature is one of the forms of recognizing identities of human and society. Investigating of applying theme in contemporary literary texts in Gide’s & Hafez’s works in order to represent social, psychological and individual transformations has a symbolic form. If the authors specify the time and space in a story, symbols & applied myths make these times and spaces more tangible. Some of these symbols and applied myths indicate a number of positive mental concepts, while some others portray negative ones. Myth not only into the living culture of humans, but it has also penetrated deeply into literature & mysticism. Many of the Hafez’s & Gide’s prose and poetic narratives include mystic themes understanding of which requires identifying the content and the devices used in their texts. In the present paper, it has been attempted to demonstrate the similarities & differences of these two author’s texts from a mystical and mythical point of view.

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One of the goals of comparative literature is to explore the common layers of literary, cultural and social communities and nations. Comparative literature can also clarify the fundamental interactions with a community by examining deeper layers. Causal Layered Analysis in Futures Research Methodology as a new way in a future study at four levels analyzes the past, present and future effects: Litany level, Social causes, Structure, and the discourse, Metaphor and myth level. By providing a systematic way of extracting the myth from the text, in this research, the fourth layer, which is shared by the mythocritic of comparative literature, to analyze and understand of three narrative texts: the liberation of three hundred prisoners by Hallaj in Tazkerat ol Oliya of Attar, the liberation of men by Prometheus in Enchained Prometheus, and the liberation of Peter imprisoned by an Angel in The Bible. In the text of Peter, Peter does not receive any human help.  A supernatural force helps Peter. It can also be pointed out that for the uprising and rebellion against the ruling power in a community in the West, the persecutor must have a holy color to be accepted by the community. In the event that, in the Iranian story of Hallaj, this man is responsible for his own destiny and is not waiting for another force, and the rebellious person must pass his life so that the rest follow him. In Prometheus, like in Peter, humans do not play any role.

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Regarding their beliefs and cultural roots, Indians and Iranians share cultural, ritual and literary features in common. These similarities may be seen in their literature which is the mirror of their beliefs and culture. We can see many analogous structures and motifs in the literature of the both countries. The well-known fairy tale which has been narrated on Fayez, the famous poet of Dashtestan region and his marriage with a fairy woman, is one of those similarities. This fairy tale is similar to the Indian myth entitled the "marriage of Ganga and Santanu" being narrated on Mahabharata. In this study, by structural analysis of two narratives, and based on Levi-Strauss ‘s “Structural Mythology” theory, the authors explored the structures, motifs and signs of both narratives. The analysis showed the similar structure of both narratives and the mythical roots of the Iranian fairy tale. Furthermore, the results of this study indicated that both narratives include the “fertility/infertility” binary oppositions in their deep structure.

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Myths in throughout of world, have many similarity together, therefore we can clarify all myths in some sample. There are very festival which contains myth. KUSE, a celebration that carried out before NOOROZ in Persian, has a various form, that ARUS GULEY- one of the Fertilization Festivals of Guilan is one of them. This paper is an attempt to descript the story of ARUS GULEY, ISIS, (the Egypt myth), PERSEPHONE, (the Greek myth), and to say that the Guilanian celebration has very sings to verify similarity with them, thus it is appropriate to serious study. This article contain several segments: introduction of the Egypt and Greek myth, description of tow narrative of ARUS GULEY, semiology of these narratives, and the comparison SIYAVASH and RAPITHVIN with ARUS GULEY is another part of this article.

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The tales reflect the thinking, lifestyle and beliefs of people over time. Despite the obvious differences of stories with each other in different cultures and clans, there are also common features. . Stories have been used as a part of folk art and literature from myths. A group of thinkers like Freud believe that myths have influenced folk oral stories. But another group, including Andrew Lang, disagrees with this category the story is not a myth left and, in fact, these are myths formed on the basis of folk oral stories. In each society, there are some ancient behavioral patterns which may not necessarily be taught only indirectly to people in the community. or, vice versa, may be attributed to some of those patterns in the formal education system. All those ancient practices today are part of a culture that has been inherited from one generation to another. This article will be followed by a review of the category of "hair" in folk oral stories it is even possible to try to find their mythological expressions. The result of this research, which collects data in a library-based way based on descriptive-analytic research methodology, shows that hair is a sign of femininity and female sexual power. The female personality of stories has mostly fertility, water-relatedness and vegetative fertility women. There are also many ways of life, and especially marriage, in these stories, rituals, and rituals of the maternal age

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Folk tales are an integral part of Iranian folklore and their examination, whatever be their literary aspect pave the way to the recognition of the mysterious world of human culture in the distant past. Hosn Ara’s tale is considered a unique version of a popular tale most likely written in the Safavid era by Mohammed Riyadh. This edition is being kept in the manuscript collections of Leipzig University. Hosn Arā’s tale narrates the history of a rich who ends up marrying four women. They are the symbol of female sex in four great prehistoric and historical Iranian periods. Among them, two women have a mythical function and two others have historical implications. This article attempts to analyze the text of the story by examining the quadruple image of women and by recognizing the mythological and historical symbols associated with Khwarazm using non-textual texts and signals. Thus the objective of this study is to demonstrate the cultural integrity of Iran and the lands of the distant past.

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Mahmood Rezaee Dasht Arzhane,Ph.D.
 
Abstract
Some of the well-known Iranian heroes have killed dragons; including Rostam for instance. The reason for this act is that within the wide scope of the Iranian myths, dragon is the symbol of drought; and actually killing dragons is meant to signify the triumph of plenitude over drought. Still, there is one case in Iran which paradoxes with the dragon being the symbol of drought; Rostam Dastan. In the Third Stage of the war, although Rostam succeeds in killing dragons, his banner is dragon-sized, and he boasts about killing dragons to his ancestor-Zahak (in other words Azhi Dahak Avesta)- yet this issue contrasts with his dragon-killing on one hand, and dragon being the symbol of drought in the Iranian mythology on the other hand. Throughout this survey the author of this article has come to finally believe that Rostam’s dragon-sized banner, added to the holiness of dragon in his perspective is most likely an influence of China’s myths which has penetrated into Iran. Therefore the dragon, which is actually Rostam’s totem, and he deeply cherishes, unlike the Iranian myths, is the symbol of rain, freshness and plenitude.